And so we reach the final five…

Over the last few days Civilian Theatre has been counting down their Top 10 plays of 2013. The decision making process to find a top 10 was difficult enough to begin with, and there were at least five or six plays that were edged out in the end. It was a surprise to discover that Coriolanus – thoroughly enjoyable – did not get close and even David Tennant in Richard II was edged out; a particularly hard call given it sees one of my favourite verse-speakers meet one of my favourite plays by Shakespeare. A mention should also go to Harriet Walter – superb in a brave all-female production of Julius Caesar and the best Brutus that I have seen on stage, but with enough overall flaws to edge it out of contention.

But a reminder of what we have seen already

10) The Resistible Rise of Arturo Ui – Chichester Festival and Duchess Theatre

09) Ubu Roi – Cheek By Jowl at the Barbican’s Silk Street Theatre

08) Macbeth – Trafalgar Transformed at the Trafalgar Studios

07) Mydidae – Trafalgar Studios

06) Othello – Olivier Stage at the National Theatre

And so at Number 05….Fraulein Julie

And the link to the original review

No 05 Fraulein Julie

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Radical naturalism in haunting reinvention of a classic

Fraulein Julie – Barbican, until 04 May

Strindberg’s Miss Julie never seems to quite fall out of fashion but even by its standards, London has been awash with the play. This is the third major version in less than a year, and it has been only six months since audiences at the Barbican were left underwhelmed by the high-profile casting of art-house favourite Juliette Binoche in the title role, whilst those who saw Mies Julie were rather more  thrilled by the South African reinvention and the Young Vic took it upon themselves to revive Patrick Marber’s After Miss Julie.

For all the different qualities these productions brought to Strindberg’s original they must be regarded to be drifting in the wake of Katie Mitchell’s exceptional production, which contains a lacerating truthfulness that Fraulein Julie in Katie Mitchell's radical reinventionmakes it almost unbearable to watch. The most remarkable element of the exposure of the truth in this most naturalistic of plays is that Mitchell’s deliberately subverts audience expectations of naturalism by introducing many layers of artifice in order to produce a dislocating, alienating experience.

Fraulein Julie contains all of the directorial tics of a Katie Mitchell production; television cameras are used almost continuously alongside the action, a set creates physical barriers between audience and actors, sound booths overlay conversation and Foley artists provide live sounds effects. The audience are left in the position of watching both the back of a TV studio at the same time as watching a radical reinvention of the Strindberg play – and yet despite all this feel no dissonance as the events unfold.

These traits in Mitchell seem appropriate – in so far as there are auteurs in theatre, it is hard to imagine many British directors fitting the bill better. Her natural reference points seem to be from Russian cinema – with the slightly woozy quality of Sokurov’s The Sun and its obsessive focus on Hirohito being particularly reminiscent in the utter focuus on one character even as events of more dramatic significance happen external to the action. .

It is not that Mitchell has a filmic quality to her work but that she has the auteur’s passion for pursing a singular vision with seemingly little regard for the enjoyment of the audience. It expresses a confidence in her own belief, and that if the belief is proved correct then the audience will be taken with her. Fraulein Julie is an experience and rarely a particularly pleasant one; it is draining, august and defiant in its lack of concession to those watching. It seems a rare person who can increase the level of austerity attached to Strindberg but this is what Mitchell has achieved.

A day after performance it is still impossible to attach a sense of how ‘good’ it was – even in tragedy there is usually a way to qualify enjoyment, be it through plot, character or performance. Here the plot is stripped away to focus entirely on one character, but the character is provided with very little interior life and the performances themselves are muted through their heightened naturalism.

However there is something about the whole affair that is undoubtedly brilliant and possibly makes it the most genuinely ground-breaking production of the year. In Mitchell’s previous work there has been an attempt to force her ideas onto plays that are not best suited to the technique. With Fraulein Julie, Mitchell has found the content to harmonise with form.

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